Harold Prince Quotes
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Ethel Merman would stay with a show for years and tour with it. So would Mary Martin, the great stars. They recognized the value of that success and nurtured it. Now, you come from Hollywood, you play 12 weeks and go away. I don't think that's the best policy.
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The perfect expression of receiving a lifetime award is to be working when they're handing it out.
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It's nice to stay up nights worrying about the material, and not about the investors who gave you $10 million to do your musical.
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When I was a 25-year-old kid, I raised $260,000 for my first show, 'The Pajama Game,' in such a homemade, pathetic, endearing way - a buck here, a buck there.
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I don't like abrasion while I'm working. I don't thrive on chaos. I enjoy what I'm doing, and it seems to work better when I am enjoying it.
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I'm just really trying to say what I really mean, which is: 'Your eye's on the prize, your eye's on the future. It's nice to know that a lot of wonderful things have happened to your life and that so much of it has been successful. That's great, but the work is really what makes it fun - and that has to be the future.'
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I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.
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We've got to find a way to protect the process of making musical theater.
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I don't look back. I look forward and plan new shows. That's really feeding the most important part of working in the theater.
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I don't think there's a defined contemporary American musical, do you?
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I've never been able to understand where great artists come from.
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Producers want to put their music behind revivals but I don't think that's a good trend for the theater at all.
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There was never any question that I would go to college, that I would travel, that I would go to the theater early and often.
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I'm crazy about Dublin. If you went back 3,000 years in my ancestry you wouldn't find a drop of Irish blood in the veins, but I love the place.
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Criticism is valuable... and self-congratulatory experiences are not.
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It's fine when you careen off disasters and terrifyingly bad reviews and rejection and all that stuff when you're young; your resilience is just terrific.
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Everything can't be a postage-stamp-sized project. Everything can't be a chamber piece. Musicals aren't even meant to be that, or identified with it... It's none of it simple.
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'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
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I wouldn't be here if it weren't for 'Show Boat.' The kind of theater I chose to be involved in is completely a direct reflection of what 'Show Boat' made possible.
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I think when you start analyzing trends and start making shows for a particular audience, you are making a fatal move. I think that's why people are doing too many revivals, that's why there's a plethora of rock musicals. There's room for everything, but not room for too much of anything.
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The idea that I have to be on the same side of the fence as Dan Quayle is cruelly depressing to me, but the truth is, I believe in family values.
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All these actors who died before I was born, all the theaters and the artistic movements - all that stuff fills you up and makes you feel like you're the inheritor of all this information and of all its passion.
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Audiences are very willing to be taken somewhere, and to ask an audience beforehand what it wants is probably, I think, a mistake. Much better you should tell them what you want and hope they agree with it.
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I saw 'On The Town' about nine times. I discovered it. I loved it. I was in college.